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Hello,
I know the trick to forcing the bass out of a chord in the chord sheet (C/G for exemple).
Is there the counterpart to specify the high note of the chord, so as to align the high note of the chord with the melody?
Thank you for your attention
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Hello,
I know the trick to forcing the bass out of a chord in the chord sheet (C/G for exemple).
Is there the counterpart to specify the high note of the chord, so as to align the high note of the chord with the melody?
Thank you for your attention
I'm not aware of a way to do this using RealTracks. You may be able to do this if using MIDI by manually setting the note(s) and freezing the track. Others may have better suggestions too.
BIAB & RB2026 Win.(Audiophile), Windows 10 Pro & Windows 11, Cakewalk Bandlab, Izotope Prod.Bundle, Roland RD-1000, Synthogy Ivory, Session Keys Grand S & Electric R, Kontakt, Focusrite 18i20, KetronSD2, NS40M, Pioneer Active Monitors.
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I’m not aware of any way you can control voicing like that, except for choosing the chord itself. For example, if you want the fourth on top, use an 11 chord. Or, the sixth on top, use a 13 chord. But these complex sounds might not be appropriate outside of jazz.
BIAB 2025 Win Audiophile. Software: Studio One 7 Pro, Swam horns, Acoustica-7, Notion 6, Song Master Pro, Win 11 Home. Hardware: Intel i9, 32 Gb; Presonus 192 & Faderport 8, Royer 121, Slate VSX, Adam Sub8 & Neumann 120 monitors.
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I’m not aware of any way you can control voicing like that, except for choosing the chord itself. For example, if you want the fourth on top, use an 11 chord. Or, the sixth on top, use a 13 chord. But these complex sounds might not be appropriate outside of jazz. Hi, Matt! Thank you for that tip!
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Don't take anything that follows as official PG music fact. It very well could be that my ears are fooling me...but:
I seem to sometimes experience when adding a "slash" note that is actually in the basic triad that some of the main instrument RT's are gently persuaded (if not actually forced) to play in the associated inversion.
For instance, a track playing a C chord with a slash note of E SEEMS to me to be playing a C chord in first inversion, putting the "C" at the top. The same may be happening with a G on the bottom, putting E on top. I haven't tried enough RT's to thoroughly test this out, but it sure often seems that way to my less-than-trained ears.
Regardless, RT's are audio and what will actually "play" depends on what was recorded, and how it is "brought up" by the program. As such, you can't MAKE it happen with RT's, but regeneration and/or multi-riffs will give you as much variety as possible.
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Several years ago another forum member, Icelander, made some posts demonstrating how a melody on the Melody or Soloist tracks influenced RealTracks formation.
One issue I suspect you're running into is I would imagine RealTracks are centered around a center point. For example lets say you're a musician and you're charged with creating a 12 key RealTrack. While you're playing riffs in all twelve keys, those 12 keys likely originate within a one octave range of the piano keyboard like C1, C#1, D1, D#1, E1, F1, F#1, G1, G#1, A1, A#1 and B1.
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Hi Tangmo,
In classical harmony, it's the bass note that determines a chord's inversion so C/E is indeed C, first inversion. It doesn't matter what order the chord's notes are and how far they are from the bass note.
Regards,
Noel
MY SONGS...Audiophile BIAB 2026
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Noel, my main point was that the "slash" note SEEMS to me to be affecting more than the bass line/track in BIAB. On guitar, for example, an open C fully strummed or arpeggiated will have an E on top. Changing that E to G doesn't change the chord, or even the inversion, but it does change the voicing. What I exampled assumed a close triad. When you have three notes and they are within a fifth of each other, moving one to the bottom by default moves the other two up the ladder.
Not all (thankfully) guitar chords and arpeggios in RT's are simple open voicings. What I "think" I may hear is a tendency to call up (in BIAB RT's) voicings that are affected by the new root (if it's a chord tone) to pull up a voicing of the associated inversion. In other words, the geetar is playing C first or second inversion. You'd have to listen to the track without a "bass-line" to hear it clearly (at least I would), but I've done that and it seems to me to be doing that at the point when the new chord is entered.
That doesn't by itself guarantee that any particular note in a triad will be on top, but multi-riff it and see if it happens often enough or more often than not.
At least often enough for me to have noticed...and that's assuming my ear is good enough to know what I'm hearing--not always a safe bet.
I might well be wrong, and probably am. I have no idea at all how deliberate or random the choices of which section of a real track the program uses to deliver the goodies for that bar or group of bars. I don't know how real tracks are played by the pros hired to play. I don't know if any of this is "covered" in the possible grouping of phrases available. I don't know much at all. I just kinda know what I think I may be hearing.
Maybe none of that is useful to the OP. I just thought it was worth bringing up.
Last edited by Tangmo; 06/03/21 05:14 AM.
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Hi Tangmo,
I see what you mean. Apologies for misunderstanding your post.
It's possible that that might happen. I don't know enough about BIAB's inner workings to say.
Thanks for explaining.
All the best,
Noel
MY SONGS...Audiophile BIAB 2026
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